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Lot 273
An early twentieth century amethyst and seed pearl pendant on chain, an oval knife edge frame set with seed pearls and a central amethyst, with an amethyst drop; an early twentieth century peridot pendant; an Arts & Crafts citrine brooch; an enamelled mourning brooch with hairwork panel, a pinchbeck brooch, a silver locket, various pairs of earrings and other jewellery contained in a jewellery box
Lot 388
Christian Dior Germany Gold Tone Crystal Set Heart Pendant Vintage 1980's Dior necklace with central clear faceted crystal to centre with crystal chips to outer. Clasp in the form of interlocked 'C D' with Chr Dior, Germany impressed mark. Along with a jewellery box containing a quantity of costume jewellery, beads, brooches etc. Also, a boxed Sekonda gold tone cocktail watch with matching bracelet.
Lot 569
AN EIGHTEENTH CENTURY JACOBITE PORTRAIT RING unmarked, the oval head with portrait behind glass after Alexis-Simon Belle, in a scalloped silver mount with yellow gold shank, in later leather box head 1cm Note: Portrait rings and other jewellery have been recorded as used and gifted by the Stuart Royal family from as early as King Charles I, to commemorate his execution, to the restoration of King Charles II. This medium, however, was seldom used by the Jacobite court, although some very rare portrait rings of Prince Charles from the mid-18th century and later are known. Much Jacobite jewellery consists of later supporters' jewellery, rather than period pieces, and are not as closely connected to the Court, such as this. This ring is a very rare and early example, depicting the Old Pretender and likely dating to the uprising of 1715 when King James was still the figurehead of the Jacobite cause. The portrait appears to be after the Belle portrait while James III was Prince of Wales in c1700 or the portrait of him immediately after taking the title of King in 1702. While there are similarities to both the fact that James appears to be wearing a wig of white hair rather than as in the portraits his natural hair does show some artistic license. The portrait shows James in the finery associated with his position as rightful King and notably even in such a small scale with his sash of the Order of the Garter, making sure this claim to his Royal lineage is prominent. References: Corp, Edward, 'The King Over The Water, portraits of the Stuarts in Exile after 1689', Scottish National Portrait Gallery, 2001
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